Chitty Chitty Bang Bang

“Chitty Chitty Bang Bang” is a sugary confection of 1960s whimsy, all eccentric characters, flying cars and picnics on the beach.  But it’s also a piece that holds a special place in the hearts of many, thanks to its cinematic success and the fact that the film is a fixture in festive television schedules.  Yes, it’s escapist nonsense, but it’s warm-hearted, nostalgic escapist nonsense with broad appeal and an unforgettable soundtrack.  The Musical Youth Company of Oxford embraced all this, found the joy in it, and breathed new life into the show thanks to their energy and enthusiasm, polish and professionalism.

But this production goes further, and recognises that “Chitty Chitty Bang Bang” is more than just an adventure story sustained by special effects and driven by mild jeopardy to its fairy tale ending.  The central character, Caractacus Potts, is an inventor whose genius is yet to be recognised, but he is also a single parent doing his best to bring up his children and make ends meet, while simultaneously taking responsibility for his ageing father.  Vulgaria isn’t simply a fantasy world with a pantomime baddie as its despotic leader, but a divided society governed by a childish narcissist who promises to make his country great again.  In short, there’s emotional depth and extraordinary prescience in the script, and the production successfully brought out these elements out without sacrificing the work’s playful innocence and charm.

The depth of talent in the Company never fails to impress, and the supporting cast provided an array of memorable cameo performances.  There was imagination and discipline in the staging of the ensemble and company scenes, with the chorus deployed to good effect to add atmosphere and excitement to the archive motor racing footage, and to mask the stage mechanics of Chitty.  I liked the clever interchange between natural reactions and unison choreographed movements in the opening number, and loved the way in which the gaggle of athletes ran backwards past the car to indicate its forwards motion, before running conventionally past it when it stopped.  The Scrumptious Sweet Factory was brought to life through plenty of sugar- and clipboard-based activity, and the funfair scene was a particular highlight, with tried and tested routines such as the fake strongman delivered persuasively, and with plenty of energy and excitement evident in the crowd.  It was always clear that a lot of effort had gone into getting the basics right: everyone knew their steps and lines perfectly with ellipses properly included, entrances and exits were timed to maintain pace and flow, and the performers kept their heads up at all times and really engaged the audience.

The funfair scene is also the backdrop for one of the principal set-piece dance numbers, “Me Ol’ Bamboo”.  The Company has long enjoyed a strong reputation for demanding dances executed flawlessly, and the choreographer was able to bring her experience of appearing in the original production of “Chitty Chitty Bang Bang” at the London Palladium to bear in a series of energetic and exacting routines.  The outstanding example was perhaps the Bombie Samba (or “Saaambaaa” as the cast would have it – Anton Du Beke would be proud).  The snap!  The detailing!  The arm extensions!  The smouldering looks!

Traditional scenery was eschewed in favour of animated projections meticulously synchronised to the action.  These worked well, and there was the added benefit of the archive footage of Chitty fitting in with the overall design concept.  I understand that there was a trade-off between the brightness of the projections and the available stage area, but the company chose wisely in maximising the available space, not least to allow adequate room for the excellent company dance routines.  And then of course there was the eponymous car itself, a highly-polished beast boasting many practical features such as working headlights and revolving wheels, and if the vehicle’s wings seemed a bit small for the job they had to do, they did not prevent the car from soaring high above the company on stage.

“Chitty Chitty Bang Bang” is a show that brings its own lexicon of adjectives and superlatives, but honestly, “fantasmagorical” seems fair enough here.  The director’s clear vision for the show, coupled with the imagination and experience in the creative and technical teams and the talent and exuberant energy of the company, resulted in an outstanding production.  Just like the car, it flew, but unusually it didn’t depend on what is essentially a theatrical gimmick to succeed.  This presentation succeeded because of the core strengths of the company: the talent and hard work of young performers working in an exceptionally supportive environment.  I for one can’t wait to see what they take on next.

© NODA CIO.  All rights reserved.

© NODA CIO. All rights reserved.